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ARTS

I WRITE TO QUIET MY BRAIN. IF SOMEONE READS MY WORDS OR HEARS MY MUSIC, IT IS NICE (AND SORT OF IMPORTANT); BUT IT IS SECONDARY TO THE JOY AND THE SERENE ABSORPTION I FEEL WHILE DOING IT.

MAKING ORDER AND MEANINGS AND PERHAPS BEAUTY OUT OF LIMITED, CHAOTIC MATERIALS--SENTENCES, FACTS, IDEAS, STORIES, RHYTHMS, MELODIES, PITCHES SOUNDING TOGETHER--IS PROBABLY MY TECHNIQUE FOR SURVIVAL IN A WORLD WHERE AN INDIVIDUAL HAS LITTLE CONTROL OVER MOST ASPECTS OF A SHORT EXISTENCE.

THE PRODUCT IS MINE. I MAKE IT OUT OF THE MATERIALS WITHIN THE REACH OF A CHAOTIC BRAIN AND ITS LITTLE CORNER OF EXPERIENCE IN A PURPOSELESS UNIVERSE. WHILE DOING THE WORK, I WIN. CHAOS LOSES.

MH DECEMBER 1, 2018

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Backstage by LOIS DICKSON 2014

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Lois Dickson, 2014

See the collection live at

JOHN DAVIS GALLERY
362 1/2 Warren Street
Hudson, NY
June 2014
See more images at
johndavisgallery.com

BKO Chamber Music Does the French-Russian Connection

Notes from Uel Wade February 4, 2014

Turn-of-the century composers from Romance and Slavonic nations strained to cast off the influence of Germany, whose composers' progress seemed to parallel Germany's rise as a world power. Paris became the center of a rebellion against the weight and complexity of the German musical tradition.

Of course, sympathy between France and Russia existed well before the 20th century. The Franco-Prussian War of 1870-71 had sounded the alarm. The two countries secretly ratified a military pact in 1892. French was frequently spoken by the Russian upper classes.

By the beginning of the century, French music frequently traveled to Russia and Russian music to Paris. Teutonism was the common enemy. Music was a war carried on by other means.

On Sunday, March 16 at 3 pm, BKO members Robert Reed and I (Uel Wade, pianist and Artistic Director) will play...

Claude Debussy (Sonata for Cello and Piano,1915)
He prized the French values of clarity, elegance, and grace.
Nadia Boulanger (Three Pieces)
She promoted these values both as a composer and as the
teacher of young American composers (Copland, at al.)
Leos Janáček (Pohádka, A Russian Tale)
The oldest of these innovators, he had the strongest relationship
with Russia of all Czech composers.
Sergei Prokofiev (Sonata for Cello and Piano in C major, op.119)
After living and composing in Paris for a while, he returned to
Russian vowing to give free reign to his melodic gifts.

Uel

BKO Salon flyer 3-14

St. James Church, Chatham, NY, November 3,2013

irene-mitchell

Meet poet Irene Mitchell at the Chatham [NY] Bookstore November 17, 5pm--7pm.

See review on READING WHAT? page

Dance duo,Thank You and Good Night, at PS21

MH August 3, 2013
Last night at PS21 in Chatham, NY, two sparkling, expressive women moved, stood still, and danced all over its huge stage. The audience was breathless awaiting the next event--a shifted foot, a leap, an embrace, an arm goaded into position.

Monica Bill Barnes and Anna Bass open with a rousing, funny vaudeville. "Yeah, we can do all that show-biz stuff," they seem to say. "In our sequined dresses, we can use it and love it and spoof it, all at the same time."

They use lots of crisp unison, facing front, dance-class style. Sometimes there are funny faces inviting us into a delicious conspiracy. (They do Lucy and Carol Burnett, sans dialogue, all body.)
[Use arrows to cont.]

The choreography does not especially struggle for novel body design. Instead, concepts, shaping of sequences, dynamics, and attitudes create the freshness. Movement vocabularies range from straightforward, almost old-fashioned, generous Broadway to minimalist stuff, and life-imitating adagios.

One particular adagio is performed on top of a small table. It tells the story of a confined but "elevated" relationship, evolving always. As one person tests its very edges, the other supports; one backs away--doubting; one becomes weak or needy and requires carrying; conflict arises; one climbs down and suffers excruciatiingly from the separation. (I think it's called friendship, marriage, sisterhood, etc.) It could have been a soap opera, except for its simple, mute story-telling.

On the way home I realized that sexuality had been missing for the evening--unless you tended to layer some lesbianism on to some things. I tended not to. (What a relief to know that female bodies can dance all manner of important and frivolous matters with no need for salacious grinding hips or the silly prudery of traditional ballet.)

The music is American-songbook, recorded in excellent arrangements (sometimes played too loud). The dancers are seldom bound by its rhythms or dynamics, forcing us to sort and examine the movement/music counterpoint for literal or genre meanings. I didn't find any, but the sorting was fun. (To one ballad, the two of them face the world aggressively at the edge of the stage--boxing at us, throwing wicked punches, and taking a few on the chin.)

Looking around the audience, I guessed that it was mostly paper. (Lots of local theater people.) If that was so, perhaps we should grieve. "We are narrow country-bumpkins around here," a nearby person opined. I hope not.

Movement, like breathing, is basic. Babes flail, wiggle, locomote, and demand to walk. In our prime, some of us make art out of it. In old age, we mourn, feeling it depart toward our non-being.

Meanwhile, PS21 brings us some prime. What a treasure.
______________

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Wendolyn Rue
  April, 2012

Page International Screenwriting Competition:   ROBERT RUE WINS THE GOLD IN   DRAMA

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For his screenplay Knowing Jack,
Robert Rue of NY, NY has nabbed the top prize in The Page's most competitive catagory: DRAMA.

The Page awards include $$, but more important is the exposure of a script to agents and producers in film and television. (Rue is already represented by ICM.)

[Note: Rue is son of MH. This site does not usually wax personal, but sometimes ya just gotta crow.]

The year 2012 is something of a banner year for Rue who has an even more important arrival than "The Page": his son, Alex, the heldentenor.

Alex- Heldentenor

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